SUPERVISOR  Of  DRAWING,  PUBLIG 'SCHOOLS 


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LIBRARY 

OF   THE 

UNIVERSITY  OF  CALIFORNIA 

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^Accession  No .  /jQ  /  3 /jL     •   Class  No. 


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PRIMER  OF  DESIGN. 


BY 


CHARLES   A.  BARRY, 

SUPERVISOR     OF     DRAWING,     PUBLIC     SCHOOLS, 

BOSTON,    MASS. 


"  Never  lose  an  opportunity  of  seeing  any  thing  beautiful.  Beauty  is  God's  hand- 
writing, —  a  wayside  sacrament.  Welcome  it  in  every  fair  face,  every  fair  sky,  and  every 
fair  flower;  and  thank  Him  for  it,  the  Fountain  of  all  loveliness.  Drink  it  in,  simply, 
earnestly,  with  all  your  eyes:  'tis  a  charmed  draught,  —  a  cup  of  blessing." 


GEO.  WEBB  ALEXANDER, 

SUCCESSOR   TO 

j^OI  MARKET  ST.,  S,  Ff 
Pacific  Coast  Agent. 


BOSTON: 

LEE    AND    SHEPARD,    PUBLISHERS. 

NEW  YORK: 
CHARLES    T.    DILLINGHAM. 


■    63 


Copyright,  1878, 

BY 

CHARLES    A.    BARRY. 

All  Rights  Reserved. 


7*'H£ 


Franklin  Press: 

Electrotyped  and  Printed  by 

Rand,  Avery,  &>  Co., 

Boston. 


©F   THE 

UNIVERSITY 


TO  MY  FRIEND 

SEaiter    Smttfj, 

STATE  DIRECTOR  OF  ART-EDUCATION   IN   MASSACHUSETTS, 

I  ©etucate  tfjtg  Booft, 

« 

IN  TOKEN   OF   MY  dAe\  APPRECIATION  OF  HIS 

DISTINGUISHED   SERVICE  AND 

ABILITY 

&s  an  &tt*iftlaster. 


C.  A.  B. 


"  A  very  little  reflection  must  convince  the  most  utilitarian, 
that,  in  an  advanced  stage  of  society,  decoration  enters  so 
fully  into  all  works  of  art,  as  to  constitute,  in  perhaps  a 
majority  of  cases,  the  greater  part  of  their  market  value. 
We  see  the  principle  illustrated  in  the  importance  that  is 
attached  to  surface-ornamentation  in  the  manufacture  of 
carpets  and  oil-cloths  and  matting  and  wall-paper  and  cur- 
tains ;  in  printed  cloths,  and  other  articles  designed  for  dress ; 
in  crochet  and  tapestry  work;  in  the  elegant  forms  required 
for  vases,  and  all  crockery  and  earthenware ;  alike  in  the 
fine  sculpture  of  the  most  delicate  ornaments  and  the  chis- 
elling of  stone  for  public  and  private  dwellings ;  in  all 
mouldings  of  wood  and  iron,  and  other  ornamental  work 
in  architecture  :  and  it  is  found  to  enter  into  all  plans  and 
patterns  of  utensils  and  tools,  and  into  all  objects  of  art 
which  may  be  deemed  capable  of  improvement  by  giving  to 
them  increased  beauty  of  form  and  proportion.  Indeed,  all 
the  vast  variety  of  form  and  color  which  we  observe  in  the 
works  of  man,  beyond  the  requirements  of  the  most  barren 
utility,  is  simply  ornamentation." 


PREFACE. 


The  main  purpose  of  this  Primer  is  to  give  immedi- 
ate aid  to  drawing-teachers,  especially  to  those  who  are 
officially  required  by  drawing-committees  of  school- 
boards  to  teach  elementary  design  in  public  schools. 
Having  long  seen  the  necessity  of  a  simple  work  on 
the  subject,  I  have  studied  to  make  both  the  text  and 
the  illustrations  of  this  book  easily  intelligible  to  every 
one,  and  in  a  manner  particularly  profitable  to  all  who 
are  desirous  of  storing  the  minds  of  pupils  with  sound 
doctrine.  But  it  should  be  understood  fully,  that,  in 
design,  principles  only  can  be  taught ;  though  much,  in 
the  way  of  giving  inspiration  to  pupils  who  are  ex- 
pected to  make  original  designs,  can  be  done  by  good 
teachers.  This  production  is  but  the  faintest  promise 
of  some  complete  Manual  of  Design  very  likely  to 
appear  by  and  by. 


4 

5 
6 

7 
8 

9 

10 

ii 

12 

13 


TABLE   OF  CONTENTS. 


I.  —  INTRODUCTION. 

PAGE 

1.  The  Symmetry  of  Nature 19 

2.  Man  a  Lover  of  Symmetry 19 

II.  — ORIGINAL  COMPOSITIONS. 

3.  The  Original  Compositions  expected  from  Public-School  Pupils.    20 


III.  — WHAT   IS  MEANT  BY  INDUSTRIAL  DESIGN. 

The  Massachusetts  Drawing  Law         ......    20 

Action  of  the  City  of  Boston  concerning  Drawing  .  .  .20 
Object  of  Professor  Walter  Smith's  System  of  Drawing  .  .21 
Distinction  between  Fine  Art  and  Industrial  Art .        .        .        .21 

Industrial  Design  .        .        .       ■ 21 

Accuracy  in  Geometrical  Drawing 22 

Value  of  Geometry  in  Industrial-Art  Education  .        .        .        .22 

Elements  of  Form '     .  .22 

Fundamental  Forms :  Cube,  Cylinder,  &c 23 

Geometry  and  the  Skilful  Designer       • 23 

IV.  — COMPOSITION  IN  DESIGN. 


14.  Ruling  Principles  in  Design  ........  23 

15.  Unity 24 

16.  Symmetry 24 

17.  Continuity      ...........  27 


IO  TABLE   OF  CONTENTS. 


V.~ THE   LAW   OF   REPETITION. 

PAGE 

1 8.  Repetition  of  Parts  in  a  Design 28 

19.  Repetition  in  Nature 28 


VI.  —  THE   LAW   OF  ALTERNATION. 

20.  Exhibition  of  Principle  in  Greek  Mouldings  and  Vases        .        .     30 

21.  Highest  Degree  of  Alternation 30 


VII. —  THE   LAW   OF   RADIATION. 

22.  Principle  of  Radiation  in  Nature  and  Art 31 

VIII.  — THE   LAW   OF   PROPORTION. 

23.  Beauty  of  Proportion 2>3 

24.  Application  in  Elementary  Design 33 

25.  The  Spiral  of  Archimedes     .        *        ...        .        .        .    34 

IX.  —  MATERIALS   FOR  DESIGNS. 

26.  Natural  and  Other  Forms  as  Materials  for  Designs     .        .        .    34 

27.  Historical  Ornament 35 

28.  Use  of  Designs   found  upon  Music-Sheets,  Wall-Papers,  &c. — 

Note-Books,  Tracing-Paper    .        .        .        .        .        .        .    35 


29 

30 
3i 
32 
33 
34 
35 
36 


X.  — METHODS   OF  CONSTRUCTION. 

Arrangement  of  Parts  in  a  Composition 36 

Bi-Symmetrical  Arrangement 37 

Tri-Symmetrical  Arrangement       .        .        .  .        .        -37 

Multi-Symmetrical  Arrangement 37 

Radiating  Ornaments 37 

Vine-Arrangement 37 

Progressive  Ornament ^7 

Arrangement  in  High  Grades  of  Ornament 38 


TABLE   OF  CONTENTS.  II 


XL  — RULES   FOR  ELEMENTARY   DESIGN. 

PAGE 

A.  Enclosing  Forms,  Regular  Figures        . 39 

B.  Perspective  Effects 39 

C.  Natural  Growth,  in  Plant  Forms,  to  be  followed  .        .        .        .39 

D.  Starting-Points  of  Stems 39 

E.  Connection  of  Parts  in  a  Design .40 

F.  Space  to  be  covered 40 

G.  Distortion  of  Stems 40 

H.  Stems  not  to  be  Prominent 40 

I.  Pictorial  Representations  of  Stars,  Flags,  &c,  not  allowed  .        .    40 

y.  Border-Lines,  Details,  &c 41 

K.  Interlacing  Bands,  Carved  Scroll-Work        .        .        .        .        .41 

Z.  Borders 41 

M.  Junctions  of  Lines 41 

N.  Conventional  Forms 42 

O.  Arrangement  of  Parts  in  a  Design  like  Embroidery     .        .        -43 

P.  Half-Tint 43 

Q.  Overlapping  Leaves 43 

R.  Construction-Lines 43 

S.  Shading,  Coloring 43 

T.  Central  Parts  of  Designs 43 

XII.  — PROGRESSIVE   STEPS   IN   ELEMENTARY   DESIGN. 

37.  Selection  of  Geometrical  Form  and  Elements       .        .        .        -45 

38.  First  Draughts  in  Design  ;  Thought  and  Study  necessary    .        .     45 

39.  Composition  of  the  Unit  of  Design .45 

40.  Failures,  New  Trials,  &c 45 

41.  Careful  Copy  of  Unit  of  Design  on  New  Paper    .        .        .        .46 

42.  Registering-Ltne,  Tracing-Paper,  &c .46 

43.  Repetition  of  Unit 46 

44.  Tracing-Paper  in  Position 46 

45.  Methods  of  Repeating  by  Use  of  Tracing-Paper  .        .        .         .     46 

46.  Use  of  Soft  and  Hard  Pencils  in  repeating  Unit  of  Design         .    47 

47.  Finishing  a  Design 47 


12  TABLE   OF  CONTENTS. 


XIII.  —  DRAWING-MATERIALS. 

PAGE 

48.  Pencils,  Drawing-Paper,  &c .    47 

49.  Tracing-Paper,  Scale,  &c .        .    48 


XIV.  — CONCLUSION. 
50.    Concluding  Remarks .    49 


ILLUSTRATIONS. 


PAGE 

Snow-Flake 19 

Dog-rose 19 

Lines,  Straight,  Broken,  and  Curved 22 

Symmetry  in  Nature 25 

Symmetry  in  Art 26 

Symmetrical  Flower 27 

Greek  Fret        .        .  • 28 

Plate,  Butterfly  Border 29 

Calico  Print 29 

Egg-and-Dart  Moulding 30 

Anthemion  and  Lily  Border 30 

Glass  Window 31 

Radiation  in  Nature 32 

Radiation  in  Art ^3 

Spiral  of  Archimedes 34 

Bi-Symmetrical  Ornament 36 

Tri-Symmetrical  Ornament .36 

Multi-Symmetrical  Ornament 36 

Radiating  Ornament       .        .        . 36 

Vine-Arrangement  in  Ornament 27 

Pyramidal  Ornament 38 

Harmonic  Lines 42 

Inharmonic  Lines .        .42 

Ivy-Leaf,  Natural 42 

Ivy-Leaf,  Conventionalized .42 

13 


!  4  ILL  USTRA  TIONS. 


BOTANICAL  ELEMENTS   FOR  DESIGNS. 

ENLARGED  OR  REDUCED  FOR  USE. 
I. 

i.    Snow-Drop.  2.    Daisy. 

3.    Daphne  Mezereum. 


11. 
4.    Marigold.  5.    Blue-Bottle. 

6.    Bindweed. 


hi. 
7.    Broom.  8.    Harebell. 

9.    Heather. 


IV. 

10.    Anemone.  ii.    Dog-Rose. 

12.    Stitchwort. 


V. 

13.    Herb-Robert.  14.    Buttercup. 

15.    Forget-me-not. 


VI. 

16.    Primrose.  17.    Cowslip. 

18.    Ground-Ivy. 


19.  Henbane.  21.    Crocus. 

20.  Bush-Vetch.  22.    Bryony. 


ILL  USTRA  TIONS. 


IS 


VIII. 

23- 

Wild  Geranium. 

25- 

Corn  Crowfoot. 

24. 

Hepatica. 

IX. 

26. 

Agrimony. 

27. 

Nightshade. 

29. 

Loose-Strife. 

28. 

Potato. 

X. 

3°- 

Spider-Wort. 

3*« 

Garden  Radish. 

33- 

Avens. 

32. 

Borage. 

34- 

Hawthorn. 

HISTORICAL  ORNAMENT. 

Egyptian  Lotus. 

Pavement-Slab,  —  Nineveh. 

Antefix,  —  Acropolis,  Athens. 

Greek  Anthemion  and  Lily. 

Ancient  Roman  Frieze. 

Romanesque  Decoration  in  the  Old  Senate-House,  Saalfeld. 

Early  Gothic  Ornament. 

Moorish  Wall-Decoration. 


ERRORS  IN  DESIGNS. 

ORIGINAL  DESIGNS   SHOWING  ERRORS. 
ORIGINAL  DESIGNS  COMPLYING  WITH  GENERAL  LAWS 
OF  ELEMENTARY  DESIGN. 


PRIMER  OF   DESIGN. 


PRIMER    OF    DESIGN. 


I.  — INTRODUCTION. 

i.  If  a  snow-flake  is  placed  under  a  microscope,  it 
will  be  found  that  the  elements  compos- 
ing the  crystallized  drop  of  water  are 
arranged  with  marvellous  regularity  about 
a  common  centre ;  and  if  a  flower,  as 
the  wild  rose,  is  held  in  the  hand,  the 
same  illustration  of  external  symmetry  will  be  seen  in 
it.  Both  flower  and  flake,  reader,  are  revelations  of  the 
everlasting  geom- 
etry of  the  great 

FORM-WORKERof 

the  Universe,  in 
whom  we  have 
our  being. 

2.  We  are  all 
lovers  of  symme- 
try, from  the 
rudest  savage  to 
the  most  civilized 
man.  The  high- 
er the  culture, 
the  greater  the 
shrinking  from   things  rough  and   unseemly,    and   the 

19 


20  PRIMER   OF  DESIGN, 

more  intense  the  desire  for  forms  that  give  pleasure. 
We  crave  symmetry,  and,  through  our  love  of  it,  find 
our  way  to  the  perception  of  geometric  law,  and,  by  that 
law,  to  the  grasping  of  the  things  that  make  real  our 
ideals. 

II.  — ORIGINAL  COMPOSITIONS. 

3.  The  original  compositions  expected  from  the  pu- 
pils of  public  schools  should  be  forms  in  that  branch  of 

ART-EDUCATION    known    as    DECORATIVE    DESIGN,    whose 

laws  have  to  deal  with  accessory  or  appended  orna- 
ment,—  with  decorations  belonging  to  principal  forms, 
as  attachments ;  and  the  work  should  be,  in  primary 
and  grammar  schools,  elementary  or  educational,  and, 
in  high  schools,  industrial. 

III.  — WHAT   IS   MEANT   BY   INDUSTRIAL 

DESIGN. 

4.  In  the  year  1870,  upon  the  evidence  of  many  cele- 
brated manufacturers  and  distinguished  gentlemen  of 
New  England  relative  to  the  scarcity  of  good  native 
designs  and  skilled  artisans  in  America,  the  State  of 
Massachusetts  passed  the  now  well-known  Drawing 
Law,  requiring  drawing  to  be  taught  in  all  the  public 
schools,  and  free  instruction  in  industrial  drawing  to 
be  given  to  all  persons  over  fifteen  years  of  age  in  cities 
and  towns  having  more  than  ten  thousand  inhabitants. 

5.  Immediately  after  the  passage  of  the  law,  the  city 
of  Boston  established,  through  its  School  Board,  the 
thoroughly  well-organized  system  of  drawing  planned  by 


PRIMER   OF  DESIGN.  21 

Professor  Walter  Smith.  His  scheme  is  now  in  suc- 
cessful operation,  not  only  in  Boston,  but  in  many  of 
the  largest  cities  of  the  country. 

6.  This  system  of  instruction  in  drawing  is  especially 
devoted  to  the  industrial  needs  of  the  country ;  and  its 
workings  are  constantly  operating  to  improve  industrial 
manufactures,  to  make  skilful  designers,  and  to  diffuse 
a  knowledge  among  the  people  of  that  kind  of  art-edu- 
cation which  forms  the  basis  of  all  industrial  progress. 

7.  Seeing  very  little  distinction,  if  any,  between  the 
so-called  fine  arts  and  industrial  art,  and  knowing  that 
the  union  in  one  person  of  the  artist  and  artisan  has 
always  been  productive  of  things  most  precious  to 
men,  I  venture  to  say,  that  to  be  a  designer  —  in  the 
full  sense  of  the  word,  as  an  art-worker  —  is  to  live  close 
to  the  very  kingdom  of  the  beautiful,  and  in  actual  con- 
tact with  every  thing  that  is  ennobling. 

8.  Industrial  design  —  or,  to  speak  more  gener- 
ally, decorative  design  —  is  that  which  mostly  points 
to  geometry  as  its  distinct  foundation  :  therefore  prac- 
tical geometry  should  early  enter  into  the  work  of 
pupils  from  whom  original  designs,  as  surface-deco- 
rations, are  expected ;  because  in  practical  geometry 
is  found  the  law  of  all  forms,  the  constructing  frame- 
work of  all  ornament  intended  to  add  beauty  to  utility. 
This  reliance  of  art-education  upon  geometry  —  the 
art-education  contemplated  by  the  law-makers  as  a 
measure  to  obtain  for  the  State  a  new  era  of  industrial 
development  —  cannot  be  too  rigidly  set  forth,  or  too 
closely  insisted  upon. 


22 


PRIMER   OF  DESIGN. 


9.  Geometry,  being  essentially  an  exact  science, 
requires  the  very  greatest  accuracy  in  work  ;  and  no 
teacher  should  expect  good  results  in  the  study  without 
insisting  that  all  slovenliness  and  carelessness  on  the 
part  of  pupils  should  be  avoided.  The  same  ground 
should  be  gone  over  frequently,  and  every  step  in  the 
construction  of  a  problem  should  be  exactly  executed. 

10.  The  intelligent  teacher  is,  by  a  moment's  thought, 
thoroughly  convinced  of  the  great  value  of  practical 
geometry  in  the  study  of  form.  In  pictorial  delineation 
all  the  work  of  the  hand  and  eye  is  limited  to  the  use  of 
points,  lines,  angles,  triangles,  squares,  curves ;  and  the 
endless  combinations  of  these  give  rise  to  the  things  we 
daily  see  from  Nature's  vast  sources  of  construction,  or 
from  the  workshops  of  man. 

n.     Modes  of  matter   are   modes  of   occupation   in 


space ;  and  every  mass 
which  we  call  body  is  a 
union  of  surfaces  com- 
posed of  two  —  or,  at  the 
most,  of  three — element- 
ary parts,  in  varying 
relations  to  each  other. 
These  simple  elements 
are  the  straight  line,  the 
curved  line,  and  the  bro- 
ken line.  There  are  no 
other  kinds  of  lines  in 
nature  ;  and  with  these  the  Almighty  Designer  has  pro- 


PRIMER   OF  DESIGN. 


23 


duced  the  myriad  of  shapes  we  see  everywhere :  there- 
fore man,  who  can  only  imitate  and  re-arrange,  must, 
in  his  work,  use  the  same  elements. 

12.  A  reference  to  nature  or  art  will  show  that  the 
lowest  class  of  bodies,  standing  as  types  of  construction, 
is  made  up  of  figures  compounded  altogether  of  straight 
lines,  such  as  the  cube,  pyramid,  prism,  &c.  ;  that  the 
next  above  in  order,  comprising  the  sphere,  ovoid, 
ellipsoid,  &c,  is  composed  entirely  of  curved  lines ;  and 
that  the  third  class,  comprising  objects  represented  to 
the  eye  by  both  straight  and  curved  lines,  is  illustrated 
by  the  cone,  cylinder,  &c.  This  last  class  is,  by  its  na- 
ture, without  fixed  limits.  The  first  method  of  formation 
—  that  developed  by  straight  lines  —  is  found  in  the 
mineral  world  ;  the  second  —  that  developed  by  curved 
lines  —  in  the  animal  world  ;  and  the  last  —  that  de- 
veloped by  a  mixture  of  straight  and  curved  lines  — 
in  the  vegetable  kingdom.  Every  branch  of  industry 
must  turn  to  these  forms  of  nature  as  models  for  imita- 
tion. 

13.  All  the  resources  to  be  found  in  the  science  of 
geometry,  then,  should  be  close  to  the  thinking  brain 
and  skilful  hands  of  a  good  designer. 

IV.  — COMPOSITION   IN   DESIGN. 

14.  The  three  ruling  principles  of  composition  in 
ornamental  decoration  are 

Unity,  Symmetry,  Continuity. 


24 


PRIMER   OF  DESIGN. 


15.  Unity  is  the  assemblage  of  the  separate  portions 
of  a  design  into  one  whole  :  and  the  very  first  condi- 
tion of  a  good  design  for  decoration  is,  that  it  shall 
manifest  in  all  its  parts  intelligible  relation  to  the 
whole ;  i.e.,  all  the  parts  of  the  design  must  be  in  such 

\  harmonious  relation  and  keeping  as  to  be  easily  recog- 
nized as  complementary  portions  of  the  whole.  To 
secure  unity  in  a  design,  each  part  must  be  carefully 
studied,  and  nothing  whatever  introduced  into  the  com- 
position thoughtlessly.  All  confusion  and  contradiction 
must  be  avoided,  and  the  proper  correspondence  of  parts 
kept  constantly  before  the  mind  as  the  chief  thing  to  be 
desired.  Unity,  as  an  effect  in  the  whole  mass  of  a 
composition,  may  be  completely  preserved,  though  great 
variety  in  the  details  of  a  work  is  allowed,  variation 
in  details  being  a  legitimate  means  of  imparting  beauty 
to  a  design. 

16.  Symmetry  —  following  the  relation  of  parts  to 
the  whole  —  is  the  relation  of  parts  to  each  other.  This 
principle  requires  that  the  same  dimensions  adopted  for 
one  member  shall  be  adopted  for  every  other  like  mem- 
ber ;  that  individual  parts  belonging  to  the  same  whole 
must  have  a  perfect  likeness  to  each  other.  For  in- 
stance, if  the  whole  consists  of  parts  identical  each  with 
the  other,  each  part  ought  to  form  the  half  of  the  whole. 
To  simplify  this,  let  me  state  that 

Symmetry  is  a  perfect  equality  of  form  on  either  side 
of  a  straight  line,  opposite  parts  equally  balancing 
each  other. 


PRIMER   OF  DESIGN. 


Symmetry  m  Nature. 


\ 


20 


/ 


PRIMER   OF  DESIGN. 


Symmetry  in  Art 


PRIMER   OF  DESIGN. 


27 


Diagram  of  a  perfect  symmetrical  flower,  showing  the  various  circles  or  parts  alternating 
with  each  other.  The  outer  circle,  or  whorl,  the  calyx,  1;  the  next  circle,  its  parts 
alternating  with  those  of  the  calyx,  the  corolla,  2;  within  that,  the  stamens,  3;  and, 
occupying  the  centre  of  all,  the  pistil,  4. 


17.  Continuity  is  the  identification  of  each  part  of 
a  design,  symmetrical  or  unsymmetrical,  with  another 
part,  and  with  the  whole.  A  bond  of  union  of  parts 
must  exist,  and  be  made  clearly  manifest,  in  such  a  way, 
that  not  only  one  part,  but  all,  shall  be  seen  to  be  har- 
moniously united  to  form  a  whole.  Continuity  in  a 
design  means  uninterrupted  pleasing  connection  of 
parts,  differing  in  shapes.  It  is  distinguished  from 
unity  in  this  respect :  unity  requires  subordination  of 
parts  to  a  whole.  As  continuity  in  a  composition 
1  means  the  orderly  succession  of  parts  differing  in  shape, 
if  this  principle  is  violated,  unity  is  broken.  Turner, 
in  one  of  his  best  pictures,  —  "  The  Old  Bridge  at  Cob- 
lentz,"  —  adhered  strictly  to  the  law  of  continuity. 


28  PRIMER   OF  DESIGN, 


V.— THE   LAW   OF   REPETITION. 

1 8.  Closely  allied  to  the  great  law  of  symmetry  in 
decorative  design  is  the  law  of  repetition,  which  re- 
quires the  orderly  succession  of  parts  in  a  composition. 
Any  form,  no  matter  how  insignificant  it  may  be  in 
itself,  becomes  at  once  pleasing  to  the  eye  by  orderly 
repetition,  —  by  constantly  appearing  at  equal  distances. 
The  straight  lines  forming  the  ornament  known  as  the 
"  Greek  fret "  become  at  once  interesting  by  the  orderly 


Fig.  i. 


[b!  rs  Ea  fa  i 


repetition  of  Fig.  I.  The  regular  arrangement  of  the 
butterfly  on  the  rim  of  the  plate  (page  29)  gives  instant 
delight  to  the  mind. 

19.  Repetition  in  design  appears  constantly  in  the 
ornamental  works  of  nature,  and  is  universally  adopted 
in  decorative  art.  It  commends  itself  to  manufac- 
turers particularly,  because  the  unit  of  design  can  be 
multiplied  an  endless  number  of   times  at  little  cost. 


PRIMER   OF  DESIGN. 


29 


3<> 


PRIMER   OF  DESIGN. 


The  principle  is  very  largely  introduced  in  designs  for 
paper-hangings,  muslins,  calicos,  &c,  &c. 

VI. —THE   LAW   OF   ALTERNATION. 

20.  Alternation  is  the  succession  of  different  objects 
appearing  regularly  in  turn.  It  is  the  union  of  repeti- 
tion and  variety.  The  principle  is  clearly  seen  in  the 
favorite    Greek   moulding,    "egg  and  dart,"   in    which 


two  dissimilar  forms  are  brought  together,  each  by 
contrast  heightening  the  effect  of  the  other.  It  is  also 
seen  in  the  beautiful  conventionalized  honeysuckle  and 
lily  forming  this  border,  taken  from  a  Greek  vase  :  — 


21.     The  highest  degree  of  alternation   is  contrast; 
but  contrast  should  never  be  used  in  a  design  unless, 
it  makes  the  whole  composition  more  beautiful.     Con- 


PRIMER   OF  DESIGN, 


1VERSITY 
31 


trast,  as  a  principle  of  decorative  design,  should  always 
be  subordinate  to  the  laws  that  give  harmony  and 
strength  to  orna- 
ment. The  law  is 
manifested  when  a 
curved  line  is  set 
off  by  a  straight 
one,  a  large  form 
by  a  small  one,  &c, 
&c.  A  group  of  un- 
interesting forms  in 
a  design,  by  the  in- 
troduction among 
them  of  a  few  well- 
chosen  shapes,  may 
be  made  at  once 
valuable  and  inter- 
esting ones.  The 
principle  of  con- 
trast is  well  illus- 
trated in  this  de- 
sign for  a  glass 
window. 


VII.— THE   LAW   OF   RADIATION. 

22.  Radiation  is  accessory  to  symmetry,  but  differs 
from  it  in  this  particular  :  forms  disposed  symmetrically 
upon  a  straight  line  must,  in  a  radiating  body,  spring 


32 


PRIMER   OF  DESIGN. 


Radiation  in  Nature. 


PRIMER   OF  DESIGN.  33 

from  a  common  centre.  The  principle  of  radiation  is 
everywhere  manifest,  both  in  nature  and  art,  — from  the 
web  of  the  spider,  which  is  a  tissue  of  radiating  threads, 
to  the  most  complicated  radiating  ornament  ever  in- 
vented. 

VIII.  — THE   LAW   OF   PROPORTION. 

23.  Beauty  of  proportion  should  be  constantly  con- 
sidered in  the  making  of  a  design.  This  is  a  perfect 
harmony  of  the  whole  with  any  of  its  parts.  An  ori- 
ginal composition  is  beautiful  in  its  proportions  when  all 
its  members  keep  definite  relations  of  beauty  to  each 
other  and  to  the  whole.  The  proper  balance  of  straight 
lines,  and  the  graceful  arrangement  of  curved  ones,  must 
enter  into  the  thought  of  the  designer,  and  be  kept  con- 
stantly in  mind,  if  he  wishes  to  make  a  system  of  linear 
harmony  that  will  give,  pleasure  to  the  eye. 

24.  Proportion  in  a  design  is  the  comparative  rela- 
tion of  lines  to  each  other  in  respect  to  character,  size, 
quantity,  movement,  and  harmonic  value.  The  law  of 
proportion  is  often  mathematically  stated,  and  has  been 
very  carefully  illustrated  by  the  use  of  numbers.  As 
far  as  it  concerns  elementary  design,  a  familiar  illustra- 
tion of  its  application  will  be  of  greater  practical  value 
to  teacher  and  student  than  a  complicated  and  theoreti- 
cal demonstration.  The  more  subtle  a  curve  is,  the 
more  beautiful  it  is.  This  beauty  is  produced  on  ac- 
count of  the  proportion  existing  between  the  parts  of  a 
straight  line  on  which  it  can  be  imagined  that  it  was 


34  PRIMER   OF  DESIGN. 

constructed.  Suppose  two  straight  lines,  each  one  inch 
long,  mutually  bisect  each  other  at  right  angles  :  the 
curved  line  naturally  constructed  through  their  four 
extremities  is  the  circumference  of  a  circle  which  lacks 
beauty.     But  take  the  same  lines,  and  divide  each  into 

the  number  of  parts  by  means  of 
which  a  spiral  can  be  constructed, 
and  the  curve  so  made  is  not  lack- 
ing in  beauty. 

25.  The  spiral  of  Archimedes,  of 
the  greatest  value  in  ornamental  de- 
sign, fully  illustrates  the  law  of  pro- 
portion and  subtlety. 

IX.  —  MATERIALS   FOR   DESIGNS. 

26.  Having  briefly  considered  some  of  the  leading 
principles  of  decorative  design,  I  now  turn  the  attention 
of  the  reader  to  a  consideration  of  the  use  of  natural 
and  other  forms  as  materials  for  construction  in  orna- 
mental art.  In  nearly  all  the  periods  of  ornamentation 
men  have  gone  directly  to  Nature  for  the  means  of  pro- 
ducing valuable  decorations  ;  and  the  amazing  richness 
and  variety  of  her  treasures,  particularly  in  the  vegeta- 
ble world,  constantly  offer  to  the  designer  things  ad- 
mirably adapted  for  art-treatment.  From  the  study  of 
natural  forms,  particularly  from  those  of  the  vegetable 
world,  the  general  laws  of  decorative  design  were  de- 
rived;  and  the  best  decorators  of  this  present  time  are 


PRIMER   OF  DESIGN. 


35 


they  who  lovingly  meditate  upon  Nature's  works,  and 
enlarge  their  artistic  perceptions  by  using  even  the  sim- 
plest things  from  her  inexhaustible  treasury. 

27.  Next  in  importance  to  the  study  of  natural  forms 
comes  the  study  of  historical  ornament ;  and  I  recom- 
mend for  that  purpose  the  very  valuable  selection  of 
characteristic  examples  arranged  under  the  superintend- 
ence of  Professor  William  R.  Ware,  of  the  Massachu- 
setts Institute  of  Technology. 

28.*  Finally,  materials  for  elementary  designs  can 
be  obtained  from  numberless  sources  in  homes  and 
highways ;  and  note-books  or  tracing-paper  should  always 
be  ready  to  preserve  them  as  they  offer  themselves  to 
the  eye.  The  author  desires  it  to  be  understood,  in  this 
connection,  that  parts  of  designs  found  upon  books, 
music-sheets,  diplomas,  wall-papers,  &c,  are  often  very 
valuable  to  a  designer  of  new  decorations.  When  such 
parts  are  found  by  pupils  who  are  working  on  designs, 
they  may  be  appropriated  and  used  without  being  re- 
drawn, if  they  can  be  applied  successfully  by  tracing- 
paper  ;  provided  they  are  approved  of  by  the  teacher. 


36 


PRIMER   OF  DESIGN. 


X.  — METHODS    OF    CONSTRUCTION    IN 

DESIGN. 

29.     An  ornamental  composition  may  be  — 


Bi-Symmetrical  {two  parts), 


Tri-Symmetrical  {three  parts), 


or 


Multi-Symmetrical  (more  than  three 
parts). 


It  may  have  its  parts  ar- 
ranged like  a  fan,  radiating 
from  a  point ;  or  they  may  be 
constructed  as  the  parts  of  a 


PRIMER   OF  DESIGN. 


37 


natural  vine  are,   but  conventionally  disposed,  with  a 
continuous  and  regular  movement. 


30.  Bi-symmetrical  ornaments  should  always  be  in- 
tended for  vertical  positions,  as  in  the  case  of  designs 
for  wall-papers,  curtains,  door-panels,  &c. 

31.  Tri-symmetrical  ornaments  are  not  in  common 
use.  They  may  be  placed  where  they  can  best  display 
their  beauty. 

32.  Multi-symmetrical  ornaments,  because  they  look 
equally  well  from  all  points  of  view,  are  adapted  to  oil- 
cloths, carpets,  table-covers,  bed-spreads,  &c.  They  can 
also  be  used  upon  a  wall  or  other  vertical  surface  with- 
out offending  the  eye. 

33.  Radiating  ornaments,  in  which  the  parts  radiate 
from  a  point  and  spread  out  like  a  fan,  should  not  be 
used  upon  horizontal  surfaces,  and,  when  in  position, 
should  usually  have  their  parts  pointing  upward. 

34.  Designs  constructed  upon  the  vine  arrangement 
should  be  rhythmical ;  that  is,  the  same  features  should 
regularly  repeat  themselves  as  the  leaves  and  flowers 
do  upon  a  natural  vine. 

35.  An  ornamental   composition  may  be  progres- 


38 


PRIMER   OF  DESIGN. 


sive  ;  i.e.,  it  may,  by  the  increasing  and  decreasing 
progression  of  a  single  figure,  become  suitable  for 
pyramidal  surfaces. 


36.  In  high  grades  of  ornamentation,  not  of  course 
noticed  in  this  simple  elementary  book,  examples  of 
decoration  are  found  in  which  the  parts  enclosed  in  the 
geometrical  form  are  not  symmetrical ;  but  the  enclos- 
ing form  which  determines  the  outline  of  the  whole  is 
always  a  symmetrical  figure. 


RULES  FOR  ELEMENTARY  DESIGN. 


XL  — RULES. 

A.  The  original  compositions  intended  for 
surface-decoration  should  be  enclosed  in  regular 
geometrical  figures. 

B.  In  elementary  design,  perspective  effects 
of  flowers,  leaves,  buds,  or  other  objects,  must  be 
used  very  sparingly,  as  many  good  surface-deco- 
rators reject  them  altogether. 

C.  Flowers  must  not  project  from  the  tops  of 
leaves  and  buds  ;  leaves  or  buds  should  not  ap- 
pear to  spring  from  the  tops  of  flowers.  They 
should  all  be  drawn,  as  far  as  possible,  in  the 
order  of  their  natural  growth,  from  stems  or  roots, 
so  as  to  give  unity  to  the  design. 

D.  No  stem  should  proceed  from  the  corolla 
of  a  flower,  but  should  be  drawn,  even  if  it  is 
covered  by  other  parts  of  the  design,  so  as  to  be 

39 


40  PRIMER   OF  DESIGN. 

easily  traced  to  its  starting-point  in  some  other 
and  larger  stem. 

E.  No  part  of  a  design  should  ever  be  left 
floating  as  it  were  in  space  (unless  the  design  is 
one  for  the  commonest  wall-paper  or  a  cheap 
tile),  but  should  have  its  proper  attachment  to 
the  main  body  of  the  design. 

F.  Two-thirds  of  the  ground  enclosed  in  the 
geometrical  form  should  be  devoted  to  the  design, 
and  no  part  of  the  design  should  ever  extend  be- 
yond its  geometrical  border. 

G.  No  stem  should  ever  be  twisted  about  a 
flower,  a  bud,  or  a  leaf;  and  stems  should  not  be 
split  to  allow  other  stems  to  pass  through  them. 

H.  Stems  should  not  proceed  far  without  in- 
terruption, and  there  should  not  be  too  many  of 
them  in  a  design. 

•» 

/.  The  leading  lines  of  support  to  elements 
should  be  clearly  defined.  Pictorial  representa- 
tions of  stars,  flags,  &c,  must  never  form  a  part 
of  an  elementary  design. 


PRIMER   OF  DESIGN,  4I 

y.  Details  should  be  of  such  a  size  as  not  to 
appear  finical  and  confused,  and  border-lines  of 
all  similar  figures  in  the  ornamental  construction 
should  be  of  the  same  tint  and  thickness. 


K.  Interlacing  bands  should  alternately  rise 
above  and  pass  beneath  each  other,  and  no  rep- 
resentation of  carved  scroll-work  should  ever  be 
introduced  into  any  elementary  design. 

Z.  A  plain  border  of  one  or  two  dark  lines,  a 
simple  fret,  a  ribbon  of  overlapping  leaves,  or 
a  repetition  of  a  snow-crystal  or  of  some  simple 
geometrical  figure,  is  all  that  should  be  allowed  to 
enclose  an  elementary  design  ;  and  no  name,  or 
initials  of  a  name  (unless  they  happen  to  be  sym- 
metrical letters,  — 

AHMOT         U  V  W  X  Y) 

should  ever  be  placed  in  any  part  of  the  ornament 
designed. 

M.  Junctions  of  curved  lines,  or  of  curved 
lines  with  straight  ones,  should  be  tangential  to 


42 


PRIMER   OF  DESIGN, 


each  other ;  and  curved  lines  passing  into  straight 
ones  should  pass  into  them  harmoniously. 


Correct,  —  harmonic. 


Wrong,  —  inharmonic. 


N.  If  wholes  or  parts  of  natural  forms,  flow- 
ers, leaves,  buds,  &c,  are  taken  as  elements,  they 
must  be  treated  more  or  less  conventionally  ;  but 
every  thing  that  contradicts  laws  of  growth  — 
such  as  the  combination  of  the  leaves  of  one 
plant  with  the  flowers  of  another  —  should  be 
strictly  avoided. 

Note.  —  Flowers,  leaves,  and  buds  are  treated  conventionally 
when  their  general  forms  only  are  imitated  :  when  they  are  made 
symmetrical,  minute  irregularities  of  outline  are  omitted. 


Natural  leaf,  Ivy. 


Same  leaf  conventionalized. 


PRIMER   OF  DESIGN. 


43 


O.  Forms  must  not  be  too  small  in  proportion 
to  the  ground  to  be  covered,  and  any  arrangement 
of  lines  like  embroidery  should  be  avoided. 

P.  If  half-tint  is  used  to  separate  the  orna- 
ment from  the  back-ground,  either  upon  the  back- 
ground or  the  ornament,  the  lines  producing  the 
tint  should  not  be  too  near  together ;  and  it  is 
best  that  they  be  drawn  either  horizontally  or  ver- 
tically. 

Q.  Leaves  may  overlap  each  other ;  but  the 
parts  of  leaf- outlines  hidden  by  overlapping 
leaves  must  not  be  represented  in  any  way. 

R.  All  construction-lines  in  a  design  should 
be  drawn  very  faintly,  excepting  those  selected  to 
be  axes  of  units  of  design :  these  should  be  dis- 
tinctly but  not  heavily  made. 

S.  All  shading  of  forms  in  elementary  design 
is  entirely  out  of  place,  and  any  use  of  colored 
crayons  is  altogether  wrong. 

T.  Devices  selected  for  centres  of  designs 
;hould  be  small  in  proportion  to  the  whole  space? 


44  PRIMER   OF  DESIGN. 

to  be  covered  :  for  example,  in  a  square  having 
sides  of  five  inches,  the  central  figure  ought  not 
to  be  more  than  one  inch  in  diameter.  They 
should  have  a  firm,  solid  appearance,  as  they  are 
places  of  attachment  and  support  for  all  the  lead- 
ing parts  of  the  design. 


XII.  —  PROGRESSIVE   STEPS   IN   ELEMENT- 
ARY  DESIGN. 


Rule  and  measure  every  line  that  can  be  ruled 
and  measured. 

37.  First  select  the  geometrical  form  to  be  filled, — 
square,  triangle,  hexagon,  &c. ;  next  decide  upon  the 
subject  to  be  used  as  an  element,  either  from  plant- 
forms  or  ornamental  detail,  —  as  ivy,  anemone,  or  rose, 
&c,  &c, — anthemion  or  lotus  ornament,  &c,  &c. 

38.  Draw  on  common  paper  the  geometrical  figure 
to  be  filled  ;  draw  its  diagonals,  diameters,  and  any 
other  lines  to  be  used  for  construction  that  may  seem 
necessary.  Think  of  different  combinations  of  the 
elements  selected,  and  decide  how  arrangements  of 
them  may  be  made  upon  any  of  the  construction-lines. 
As  it  would  be  necessary  in  English  composition  to 
first  have  an  idea  to  express,  and  then  to  clothe  it  in 
words ;  so,  in  design-composition,  similar  reflection  and 
care  are  necessary. 

39.  Draw  one  unit ;  that  is,  what  will  fill  one-eighth 
of  a  square,  one-twelfth  of  a  hexagon,  &c,  &c. 

40.  Perhaps  the  first  attempt  will  not  be  successful ; 
but  new  trials  can  be  made  .in  similar  spaces  of  the 
rough  sketch.  A  professional  designer  always  works 
in  this  way. 


46 


PRIMER   OF  DESIGN, 


41.  When  the  unit  of  design  is  ready  to  be  repeat- 
ed, prepare  carefully  in  a  drawing-book,  or  on  suitable 
paper,  a  new  geometrical  figure  like  the  one  used  in  the 
rough  draught ;  draw  diagonals,  diameters,  and  other 
construction-lines,  very  faintly  ;  and  make  in  the  fig- 
ure thus  prepared  a  careful  free-hand  drawing  of  the 
unit  of  design  already  composed. 

42.  Place  upon  the  drawing  a  piece  of  tracing-paper. 
Draw  with  a  ruler  on  the  tracing-paper,  very  accurately, 
the  axis  of  the  unit  designed,  which  is  technically  called, 
as  it  stands  upon  the  tracing-paper,  "the  Registering- 
Line.,,  Do  not  let  the  tracing-paper  slip  or  move  at  all. 
Trace  upon  it  with  a  soft  pencil  the  figure  designed. 

43.  The  design  can  now  be  completed  very  perfectly, 
and  with  little  work,  —  just  as  a  hundred  books  can  be 
easily  printed  from  one  set  of  plates.  It  will  be  seen, 
that  to  repeat  the  unit  of  design  is  now  a  printing 
process. 

44.  Place  the  side  of  the  tracing-paper  on  which  the 
drawing  is  on  the  adjoining  space  to  be  filled,  and  be 
very  careful  to  make  the  registering-line  and  axis  of  the 
unit  of  design  coincide. 

45.  There  are  several  methods  of  impressing  or 
printing  the  traced  figure.  The  best  way  is  to  go  over 
the  drawing  again  with  a  soft  pencil  upon  the  clean 
side  of  the  tracing-paper  while  it  lies  in  position. 
When  the  tracing-paper  is  removed,  a  correct  impres- 
sion will  be  found  upon  the  white  paper.  Continue  this 
process  until  the  entire  figure  is  filled. 


PRIMER   OF  DESIGN: 


47 


46.  .  For  the  first  tracing  on  each  side  of  the  tracing- 
paper  a  soft  pencil  should  be  used.  In  order  to  print 
a  clear  outline  from  the  tracing,  go  over  the  outline  on 
the  tracing-paper  with  a  hard  pencil. 

47.  The  whole  design,  after  the  impressions  of  the 
unit  qi  design  are  all  made,  is  to  be  nicely  finished  with 
a  hard  pencil ;  and  all  lines,  in  each  system  of  lines, 
ought  to  be  of  the  same  thickness  and  tint.  Construc- 
tion-lines will  not  be  noticed  if  they  were  drawn  as 
directed  in  paragraph  41. 

XIII.  —DRAWING-MATERIALS. 

48.  In  order  to  make  good  drawings  for  any  kind  of 
ornamentation,  the  very  best  materials,  in  the  way  of 
paper,  pencils,  &c,  &c,  should  be  upon  the  drawing- 
table  of  the  designer.  Any  first-class  dealer  in  artists' 
supplies  will  furnish  qualities  of  good  paper ;  but  the 
matter  of  pencils  to  be  used  needs  special  consideration. 
Two  kinds  of  first-rate  pencils  are  absolutely  necessary 
to  the  pupil  who  is  expected  to  make  good  designs,  —  the 
first,  a  soft  pencil,  to  be  used  for  tracing  upon  the  tra- 
cing-paper ;  the  second,  a  hard  one,  for  outlining  forms, 
and  for  finishing.  Good  pencils  —  those  that  can  be 
evenly  cut,  the  grain  of  the  wood  running  parallel  to 
the  lead,  and  the  lead  of  such  perfect  quality  as  to  have 
no  brittleness  whatever  in  it  —  are  not  easily  found  ; 
and  the  author  believes  that  a  conscientious  notice,  in 
his  book,  of  a  thoroughly  reliable  grade  of  lead-pencils, 


48  PRIMER   OF  DESIGN, 

will  be  gladly  received  by  artists,  architects,  engineers, 
&c,  and  by  all  who  desire  to  use  only  the  very  best 
pencils  that  can  be  bought.  The  grades  of  pencils  in 
constant  use  by  the  author  of  this  work,  and  in  every 
way  recommended  by  him,  are  those  bearing  the  regis- 
tered trade-marks  of  the  swan  and  the  anchor,  —  Gross- 
berger  &  Kurz,  Niirnberg,  manufacturers ; 
Rothe  &  Lips,  New  York,  Amer- 
ican agents.  The  swan  pencil 
has  sixteen  grades  of  hardness, 
the  anchor  five  grades ;  and  all 
have  received  the  very  highest  testimonials  in 
their  favor.  They  can  be  obtained  from  deal- 
ers in  artists'  supplies,  and  from  stationers  generally. 
The  following  marked  pencils  are  particularly  recom- 
mended for  use  in  the  branches  of  drawing  required  in 
the  public  schools  :  Anchor,  B  B,  H  B,  H  H,  F ;  swan, 
2  B,  H  B,  F,  2  F,  H,  3  H,  4  H. 

49.  Tracing-paper  of  the  very  best  quality,  and  the 
best  rubber  that  can  be  obtained,  should  always  be  used 
by  the  designer ;  and  a  good  piece  of  yellow  beeswax, 
for  fastening  tracing-paper  to  the  drawing-paper  (a  bit 
of  the  wax  of  the  size  of  a  pin's  head  to  be  used  for 
that  purpose),  is  often  necessary.  A  good  "scale," 
with  inch,  half-inch,  and  quarter-inch  marks  on  it,  will 
be  needed.  The  set  square  invented  by  Professor  Wal- 
ter Smith  is  the  best  one  to  use.  A  sharp  knife,  with  a 
small  file  or  piece  of  sand-paper,  should  also  be  found 
with  other  materials  for  designing. 


PRIMER   OF  DESIGN.  4g 


XIV.  —  CONCLUSION. 

50.  And  now,  in  the  hope  that  I  have  at  least  par- 
tially removed  difficulties  that  seem  to  have  caused 
much  anxiety  on  the  part  of  teachers  officially  called 
upon  to  produce  original  designs  from  pupils,  and 
trusting  that  new  energies  may  be  put  forth  by  all  con- 
cerned in  studying  design  in  the  schools,  with  a  few 
brief  remarks  I  bring  my  labors  to  a  close. 

It  is  not  to  be  wondered  at  that  even  the  most  accom- 
plished teachers  shrink  from  the  task  of  attempting  to 
obtain  from  pupils  much  in  the  way  of  elementary 
design  that  would  be  suitable  for  any  purpose  of  deco- 
ration. The  belief  is  pretty  general  among  educators, 
that  the  power  to  produce  truly  artistic  things  is  not 
inherent  in  all  men, — is  to  be  found,  indeed,  only  in 
very  few.  Nevertheless,  great  things  can  be  accom- 
plished by  pupils  if  the  underlying  principles  of  the  art 
of  design  are  faithfully  taught. 

But,  to  obtain  satisfactory  results  in  the  class-room, 
pupils  should  be  led  carefully  to  see  that  the  making  of 
an  original  composition  involves  the  conception  of  an 
end  to  be  reached,  willingness  to  study  to  reach  the  end, 
and  a  complete  comprehension  of  the  means  at  hand  to 
secure  it.  It  should  be  fully  understood  by  the  teacher, 
that  the  work  of  the  pupil  will  be  valueless  if  it  contains 
no  expression  of  thoughtful  labor ;  if  it  cannot  be  so 
analyzed  as  to  reveal  some  adaptation  of  powers,  some 


So 


PRIMER   OF  DESIGN. 


use  of  governing  laws.  Unvarying  patience  on  the  part 
of  the  teacher,  together  with  constant  encouragement 
to  pupils,  and  many-times  repeated  black-board  illustra- 
tions of  large  size  explanatory  of  the  work  in  hand,  is 
absolutely  necessary. 

The  teacher  should  not  attempt  too  much  at  a  time, 
but  should  lead  the  class  by  short,  successive,  and  sure 
steps  to  the  attainment  of  such  work  as  will  give  each 
individual  the  deep  satisfaction  of  having  done  some- 
thing that  will  give  pleasure  to  the  eye,  and  so  to  the 
heart.  To  write  a  good  English  composition  is  a  diffi- 
cult task.  Scholars  fail  both  in  ideas  to  express,  and  in 
the  use  of  words  to  clothe,  properly  the  thoughts  they 
have ;  yet  all  teachers  labor  patiently  to  teach  English 
composition.  Drawing  is  a  universal  language.  With 
the  same  untiring  zeal,  strive  to  teach  pupils  to  express 
thoughts  in  it,  and,  indeed,  to  think  in  it. 

The  teacher  should  always  remember,  that  to  inspire 
a  child  or  youth  with  even  the  smallest  desire  to  lay 
hold  on  things  calculated  to  increase  in  the  mind  a  love 
for  the  beautiful  is  to  be  at  once  worthy  of  being  named 
with  that  apostle  who  wrote,  "  Finally,  brethren,  what- 
soever things  are  true,  whatsoever  things  are  honest, 
whatsoever  things  are  just,  whatsoever  things  are  pure, 
whatsoever  things  are  lovely,  whatsoever  things  are  of 
good  report ;  if  there  be  any  virtue,  and  if  any  praise, 
think  on  these  things." 


OTANICAL     ELEMENTS 


FOR 


DESIGNS. 


©F   THK 

CVER'SITY 


©*"  THE 


ERSITY 


v  V'?/,' '    ) 


No.  18. 


No.  23. 


No.  24. 


No.  25 


No.  26. 


No.  27. 


No.  28. 


No.  29. 


No.  30. 


No.  31. 


No.  32. 


No.  34. 


©F  THE 

"^HIVEBSITY 


oF 


HISTORICAL    ORNAMENT. 


No.  i. 


No.  2. 


No.  3. 


No.  4. 


No.  5. 


No.  6. 


No.  7. 


No.  8. 


ERRORS    IN    DESIGN. 


A 


EXERCISES 


IN 


ORIGINAL    COMPOSITION 


NOT   COMPLYING   WITH   THE 


Laws  of  Elementary  Design. 


No.  i.  —  The  parts  of  this  composition  are  not  properly  connected. 


\_  \  3  R  A  ^>  pr 

©F  THE 

IHIVEHSITY 


No.  2.  —  In  this  design  single  flowers  spring  from  leaves  by  double  stems ; 

leaves  spring  from  buds,  &c. 


No.  3.  —  This  design  is  greatly  injured  by  the  introduction  of  the  bars  that 

pierce  it. 


No.  4.  —  In  this  composition  flowers  are  attached  to  both  ends  of  stems. 


No.  5  —  This  composition  is  not  in  any  way  pleasing  to  the  eye.     It  is  incorrect, 
because  flowers  proceed  from  figures  resembling  historical  ornament. 


No.  6.  —  The  principal  fault  of  this  design  is,  that  parts  of  it  have  no  connection 
with  the  centre :  both  unity  and  radiation  are  violated. 


No.  7.  —  This  design  is  valueless,  because  the  detail  is  without  character,  and 
minute.     It  resembles  a  confused  and  unsuitable  pattern  for  embroidery. 


No.  8.  —  Leaves  spring  from  flowers ;  flowers  proceed  from  flowers. 


X 


No.  9.  —  This  design  is  incorrect,  because  it  is  composed  of  leaves,  geometrical 

figures,  and  historical  ornament. 


No.  10.  —  In   this    design  three  flowers  proceed  from  two  leaves,  and  there  is 
manifestly  a  lack  of  harmonious  union  of  parts  at  the  centre. 


No.  ii.  —  In  this  composition  pieces  of  leaves  are  entirely  detached  from  the  rest 
of  the  design,  and  complete  leaves  are  united  to  the  ends  of  stems. 


No.  12.  —  This  design  does  not  appear  to  violate  any  law ;  but  it  does  not  alto- 
gether please  the  eye. 


,jr 


EXERCISES 


IN 


ORIGINAL    COMPOSITION 


COMPLYING  WITH  THE 


Laws  of  Elementary  Design. 


No.  i. 


'£  *o^ 


•3  -Otf 


No.  4. 


OF   THE 

UNIVERSITY 


of 


No.  5. 


OF  THE 

UNIVERSITY 


Of  c 


No.  6. 


No.  7. 


No.  8. 


Art  Publications, 


Professor  Charles  A.  Barry's  New  Book. 
MODEL    AND     OBJECT    DRAWING; 

OR, 

THE    REPRESENTATION    OF    OBJECTS 

(Particularly  the  Geometrical  Solids  used  in  Art-Schools)  as  they  appear.  An 
Essay  prepared  for  Instructors  in  Drawing,  and  American  Art-Students. 
4to.     Numerous  illustrations.     Price  50  cents. 

PRIMER    OF    DESIGN. 

By  Charles  A.  Barry,  late  Supervisor  of  Drawing,  Boston  Public  Schools.     75 
illustrations.     Net,  75  cents;   by  mail,  90  cents. 

"  The  primary  aim  of  this  beautifully  illustrated  primer  is  to  give  aid  to  drawing- 
teachers.  The  principles  are  illustrated  in  a  way  to  make  them  intelligible  and 
useful  to  every  one  teaching  design."  —  New  England  Journal  of  Edtication. 

ART    AND    ARTISTS    IN    CONNECTICUT. 

By  H.  W.  French.     Full  gilt.    8vo.     $3.75. 

•This  elegant  volume  comprises  sketches  of  nearly  two  hundred  artists  whom 
Connecticut  claims  either  by  birth  or  adoption.  The  work  is  beautifully  illustrated 
with  full-page  and  letter-press  designs,  comprising  portraits  of  artists,  engravings 
of  their  work,  and  in  many  cases  original  designs,  specially  prepared  for  this  book. 

ELEMENTS    OF    DESIGN. 

For  the  use  of  Teachers  and  Parents.     By  Dr.  William  Rimmer,  Boston  Art- 
School  (Museum  of  Fine  Arts).    48  full-page  illustrations.    Cloth.    Net,  $2.00; 
by  mail,  $2.25. 
Dr.  Rimmer's  manual  exemplifies  a  method  of  teaching  drawing  founded  on  the 
idea  that  it  does  not  signify  merely  an  imitation  of  forms,  but  that  it  aims  mainly 
to  reproduce  expression.     It  is  a  bold  and  attractive  drawing-guide,  which,  taking 
the  human  form  as  a  model,  gradually  unfolds,  from  the  simplest  lines  to  the  full 
anatomical  subject,  the  elements  of  figure-drawing   in  all  their  variety  of  limb, 
feature,  muscle,  and  form,  rendering  easy  of  comprehension  every  intervening 
step.     It  is  a  work  invaluable  to  the  student  and  the  artist. 

ART: 

ITS    LAWS    AND    THE    REASONS    FOR    THEM. 

Collected,  Considered,  and  Arranged  for  General  and  Educational  Purposes,  by 
Samuel  P.  Long.    i2mo.    Cloth.    $2.00. 
It  is  a  very  handsome  book,  with  steel-plate  illustrations;    a  work  of  decided 
aerit,  and  a  pleasant  guide  in  the  search  for  the  good,  the  beautiful,  the  true. 

THE    PRINCES    OF    ART. 

Translated  from  the  French  by  Mrs.  S.  R.  Urbino.     i2mo.    Cloth.     $2.00. 
It  is  a  pleasant  book,  designed  not  for  the  professional  or  amateur  only,  but  for 
popular  enlightenment  about  those  men  who,  with  the  Brush,  the  Chisel,  or  the 
Graver,  have  achieved  an  immortality  of  fame. 

For  sale  by  all  booksellers  and  newsdealers,  and  sent  by  mail,  postpaid,  on 

receipt  of  price. 

LEE  &  SHEPARD,  Publishers Boston. 


PRACTICAL    TALKS. 


EVERYBODY  WANTS 

THE  TELEPHONE. 

An  account  of  the  Phenomena  of  Electricity,  Magnetism,  and  Sound,  as  involved  in  it3 

action ;    with  directions  for  making  a  Speaking  Telephone.     By  Prof.  A.  E.  Dol- 

bear,  of  Tufts  College.     i6mo,  illustrated.     75  cents. 

"  An  interesting  little  book  upon  this  most  fascinating  subject,  which  is  treated  in  a 
very  clear  and  methodical  way.  First,  we  have  a  thorough  review  of  the  discoveries 
in  electricity,  then  of  magnetism,  then  of  those  in  the  study  of  sound  —  pitch,  velocity, 
timbre,  tone,  resonance,  sympathetic  vibrations,  &c.  From  these  the  telephone  is 
reached,  and  by  them  in  a  measure  explained."  —  Hartford  Courant. 

THE  ART   OF  PROJECTING. 

A  manual  of  Experimentation,  Physics,  Chemistry,  and  Natural  History,  with  the 

Porte-Lumiere  and  Magic  Lantern.      By  Prof.  A.  E.  Dolbear.      i2mo,  cloth, 

illustrated.     Price,  $1.50. 

"  This  book  supplies  a  place  no  former  treatise  has  filled.  For  several  years  we 
have  made  frequent  use  of  the  oxyhydrogen  light  and  porte-lumiere  for  class-room 
illustration,  but  we  find  here  many  things  we  had  never  thought  of  before.  The  book 
abounds  in  descriptions  of  practical  and  easily  tried  experiments,  any  ingenious  teacher 
can  easily  try  with  little  expense.  It  is  not  an  addition  to  the  existing  number  oi 
scientific  treatises,  but  an  exceedingly  useful  help  to  all,  alike  valuable  for  the  beginner 
and  college  professor."  —  National  Teachers'  Monthly. 

PRIMER  OF  DESIGN. 

By  Charles  A.  Barry,  late  Supervisor  of  Drawing,  Boston  Public  Schools.    75 
illustrations.     Net,  75  cents.     By  mail,  90  cents. 

"  The  primary  aim  of  this  beautifully  illustrated  primer  is  to  give  aid  to  drawing- 
teachers.  The  principles  are  illustrated  in  a  way  to  make  them  intelligible  and  useful 
to  every  one  teaching  design." — New-England  Journal  of  Education. 

"  Mr.  Barry  is  an  artist  of  eminent  ability,  excelling  especially  as  a  draughtsman; 
and  his  experience  as  a  teacher  is  made  available  in  presenting  with  force,  precision, 
ind  clearness,  the  principles  and  laws  which  he  undertakes  to  inculcate.  As  a  text- 
book it  will  prove  very  serviceable,  and  we  should  be  very  glad  to  see  its  value  recog- 
nized in  our  public  schools."  —  Epitome  of  Literature,  Philadelphia. 

ELEMENTS   OF  DESIGN. 

For  the  use  of  Teachers  and  Parents.     By  Dr.  William  Rimmer,  Boston  Art  School 

(Museum  of  Fine  Arts).     48  full-page  illustrations.     Cloth.     Net,  $2.00.     By 

mail,  $2.25. 

Dr.  Rimmer's  manual  exemplifies  a  method  of  teaching  drawing  founded  on  the  idea 
nat  it  does  not  signify  merely  an  imitation  of  forms,  but  that  it  aims  mainly  to  repro- 
duce expression.  It  is  a  bold  and  attractive  Drawing-Guide,  which,  taking  the  human 
form  as  a  model,  gradually  unfolds  from  the  simplest  lines  to  the  full  anatomical  sub- 
ject, the  elements  of  figure-drawing,  in  all  their  variety  of  limb,  feature,  muscle,  ano 
form,  rendering  easy  of  comprehension  every  intervening  step.  It  is  a  work  invalua- 
ble to  the  student  and  the  artist. 


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AIDS  TO  EDUCATION. 


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Art;  its  Laws  and  the  Reasons  for  Them.  Collected, considered  and  arranged 
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The  Art  of  Projecting.  By  Prof.  A.  E.  Dolbear.  A  Manual  of  Experimenta- 
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\m  Foils'  Book  of  American  Explorers. 

BY    THOMAS    WENTWORTH    HIGGINSON. 

Uniform  with  the  Young  Folks'  History  of  the  United  States.  One  vol.  Fully  illustrated. 

PRICE  $1.50. 


The  ground  covered  may  be  seen  by  the  following  list  of  subjects 
treated  in  successive  chapters  :  The  Traditions  of  the  Norsemen ; 
Columbus  and  his  Companions;  Cabot  and  Verrazzano;  The 
Strange  Voyage  of  Cabeza  de  Vaca ;  The  French  in  Canada ;  Her- 
nando de  Soto;  The  French  in  Florida;  Sir  Humphrey  Gilbert; 
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ments; Capt.  John  Smith  in  Virginia;  Champlain  on  the  War- 
Path;  Henry  Hudson  and  the  New  Netherlands;  The  Pilgrims  at 
Plymouth ;  The  Massachusetts-Bay  Colony. 

"AS    A    TEXT-BOOK    FOR    SCHOOLS, 

This  book  fills  one  of  the  greatest  needs  of  our  schools,  —  a  need 
which  has  long  been  felt,  but  which  exists  no  longer.  It  is  not  a 
history  told  in  the  third  person,  nor  an  historical  novel  for  young 
folks,  where  the  author  supposes  the  chief  characters  to  have 
thought  and  said  such  and  such  things  under  such  and  such  cir- 
cumstances ;  but  it  is  the  genuine  description  given  by  the  persons 
who  experienced  the  things  they  described  in  letters  written 
home."  —  Montpelier  Journal. 

TESTIMONY  OF  THE  PRINCIPAL  OF  ONE  OF  THE  LEADING  SCHOOLS 
FOR  GIRLS,  AT  PORTLAND,  ME. 

The  Young  Folks'  Book  of  American  Explorers  is  used 
in  my  school  as  a  reader  by  a  class  of  fourteen  girls  from  twelve 
to  sixteen  years  of  age.  They  had  some  acquaintance  with  Ameri- 
can history;  and  I  hoped  this  volume,  while  adding  to  their  knowl- 
edge, would  awaken  a  new  interest  in  the  subject.  The  result  has 
not  disappointed  me.  The  very  words  of  the  brave  men  who 
opened  the  way  to  homes  in  the  New  World  make  the  dry  bones 
of  history  instinct  with  life. 

At  one  time  each  member  of  the  class  took  the  book  as  the 
subject  of  a  composition,  dwelling  longest  on  the  parts  which 
seemed  to  her  most  interesting.  Once  a  week  its  pages  furnish 
words  for  a  written  exercise  in  spelling. 

Incidentally  the  reading  increases  acquaintance  with  geography, 
as  the  map  is  constantly  consulted. 

The  faces  of  the  girls  as  they  read  are  sufficient  evidence  of  their 
interest ;  and  I  can  cordially  recommend  the  book  to  other  teach- 
ers who  may  wish  to  break  in  upon  the  routine  of  readers. 

Jan.  6, 1878.  EUNICE  D.  SEWALL 

LEE  &  SHEPARD,  Publishers,  Boston. 


n 


OIKS 


ol  m 


] 


By  Rev.  P.  C.  HEADLEY. 


SIX  VOLUMES.    ILLUSTRATED.     PER  VOL.  ®1.25. 


FIGHT  IT  OUT  ON  THIS  LINE.     The  Life  and  Deeds 
of  General  U.  S.  Grant. 

A  life  of  the  great  Union  General  from  his  boyhood,  written  for  boys.  Full 
of  anecdotes  and  illustrations,  and  including  his  famous  trip  around  the  world. 

FACING  THE  ENEMY.     The  Life  and  Military  Career 
of  General  William  Tecumseh  Sherman. 

The  Glorious  March  to  the  Sea  by  the  brave  Sherman  and  his  boys  will  never 
be  forgotten.     This  is  a  graphic  story  of  his  career  from  boyhood. 

FIGHTING    PHIL.      The    Life    and   Military    Career   of 
Lieut-Gen.  Philip  Henry  Sheridan. 

The  story  of  the  dashing  Cavalry  General  of  the  army  of  the  United  States. 
—  A  fighting  Irishman.  —  Full  of  pluck  and  patriotism  for  his  adopted  country. 
The  book  is  full  of  adventure. 

OLD  SALAMANDER.     The   Life   and   Naval   Career  of 
Admiral  David  Glascoe  Farragut. 

The  Naval  History  of  the  great  civil  war  is  exceedingly  interesting,  and  the 
life  of  Admiral  Farragut  is  rich  in  brave  deeds  and  heroic  example. 

THE  MINER  BOY  AND  HIS  MONITOR.      The    Car- 
eer and  Achievements  of  John  Ericsson,  Engineer. 

One  of  the  most  thrilling  incidents  of  the  war  was  the  sudden  appearance  of 
the  Little  Monitor  in  Hampton  Roads  to  beat  back  the  Merrimac.  The  life  of  the 
inventor  is  crowded  with  his  wonderful  inventions,  and  the  story  of  his  boyhood  in 
the  coal  mines  of  Sweden  is  particularly  interesting. 

OLD  STARS.     The  Life  and  Military  Career  of   Major- 
Gen.  Ormsby  McKnight  Mitchel. 

' '  Old  Stars  "  was  the  pet  name  given  the  brave  general  by  his  soldiers,  who 
remembered  his  career  as  an  astronomer  before  he  became  a  soldier.  His  story  is 
full  of  stirring  events  and  heroic  deeds. 

JfST  Sold  by  all  booksellers,  or  sent  by  mail,  postpaid,  on  receipt  of  price. 


LEE  AND  SHEPARD,  Publishers,  Boston. 


YOUNG  FOLKS'  HEROES  OF  HISTORY. 

By  GEORGE   MAKEPEACE  TOWLE. 

Handsomely  Illustrated.    Price  per  vol.,  $1.25.    Sets  in  neat  boxei. 

VASCO     DA     GAMA: 

HIS     VOYAGES     AN,"     ADVENTURES. 
"  Da  Gama's  history  is  full  of  striking  adventures,  thrilling  incidents,  and 

{>erilous  situations;  and  Mr.  Towle,  while  not  sacrificing  historical  accuracy, 
ias  so  skilfully  used  his  materials,  that  we  have  a  charmingly  romantic  tale." 
—  Rural  New-  Yorker. 

PIZ  ARRO: 

HIS  ADVENTURES  AND  CONQUESTS. 
"  No  hero  of  romance  possesses  greater  power  to  charm  the  youthful  reader 
than  the  conqueror  of  Peru.  Not  even  King  Arthur,  or  Thaddeus  of  War- 
saw, has  the  power  to  captivate  the  imagination  of  the  growing  boy.  Mr. 
Towle  has  handled  his  subject  in  a  glowing  but  truthful  manner;  and  we 
venture  the  assertion,  that,  were  our  children  led  to  read  such  books  as  this, 
the  taste  for  unwholesome,  exciting,  wrong-teaching  boys'  books  —  dime 
novels  in  books' clothing  —  would  be  greatly  diminished,  to  the  great  gain  of 
mental  force  and  moral  purpose  in  the  rising  generation." — Chicago  Alliance. 

MAGELLAN; 

OR,  THE    FIRST    VOYAGE    ROUND    THE    WORLD. 

"What  more  of  romantic  and  spirited  adventures  any  bright  boy  could 
want  than  is  to  be  found  in  this  series  of  historical  biography,  it  is  difficult 
to  imagine.  This  volume  is  written  in  a  most  sprightly  manner;  and  the 
life  of  its  hero,  Fernan  Magellan,  with  its  rapid  stride  from  the  softness  of 
a  petted  youth  to  the  sturdy  courage  and  persevering  fortitude  of  manhood, 
makes  a  tale  of  marvellous  fascination." —  Christian  Union. 

MARCO     POLO: 

HIS  TRAVELS  AND  ADVENTURES. 
"  The  story  of  the  adventurous  Venetian,  who  six  hundred  years  ago  pene- 
trated into  India  and  Cathay  and  Thibet  and  Abyssinia,  is  pleasantly  and 
clearly  told;  and  nothing  better  can  be  put  into  the  hands  of  the  school  boy 
or  girl  than  this  series  of  the  records  of  noted  travellers.  The  heroism  dis- 
played by  these  men  was  certainly  as  great  as  that  ever  shown  by  conquering 
warrior ;  and  it  was  exercised  in  a  far  nobler  cause,  —  the  cause  of  knowledge 
and  discovery,  which  has  made  the  nineteenth  century  what  it  is."  —  Graphic. 

RALEGH: 

HIS  EXPLOITS  AND  VOYAGES. 
"  This  belongs  to  the  '  Young  Folks'  Heroes  of  History  '  series,  and  deals 
with  a  greater  and  more  interesting  man  than  any  of  its  predecessors.  With 
all  the  black  spots  on  his  fame,  there  are  few  more  brilliant  and  striking 
figures  in  English  history  than  the  soldier,  sailor,  courtier,  author,  and  ex- 
plorer, Sir  Walter  Ralegh.  Even  at  this  distance  of  time,  more  than  two 
hundred  and  fifty  years  after  his  head  fell  on  the  scaffold,  we  cannot  read  his 
story  without  emotion.  It  is  graphically  written,  and  is  pleasant  reading, 
not  only  for  young  folks,  but  for  old  folks  with  young  hearts."  —  Woman** 
Journal. 

DRAKE: 

THE    SEA-LION     OF    DEVON. 
Drake  was  the  foremost  sea-captain  of  his  age,  the  first  English  admiral 
to  send  a  ship  completely  round  the  world,  the  hero  of  the  magnificent 
victory  which  the  English  won  over  the  Invincible  Armada.    His  career  was 
stirring,  bold,  and  adventurous,  from  early  youth  to  old  age. 

Sold  by  all  Booksellers,  and  sent  by  mail,  postpaid,  on  receipt  of  price. 
LEE  &   SHEPARD,  Publishers     ....    BOSTON. 


KINDERGARTEN    LITERATURE. 


THE  GREAT  GERMAN  FAMILY  BOOK, 

Mother- Play  I  Nursery  Songs, 

BY    FRIEDRICH    FROEBEL. 

Translated  from  the  German  by  Miss  F.  E.  Dwight,  of  Boston,  and  Miss 
Josephine  Jarvis,  of  Chicago. 

Edited  by  Miss  Elizabeth  P.  Peabody,  of  Concord,  Mass. 

Illustrated  by  Fifty  Engravings,  with  Notes  to  Mothers  and  Music  for  Songs.    One 
large  quarto  volume.     Bound,  $2  00. 

Col.  T.  W.  Higginson  says,  in  "  The  Woman's  Journal": 

"  Everybody  interested  in  the  Kindergarten  has  felt  the  lack  of  direct 
inspiration  from  Froebel,  for  his  style  of  speaking  was  not  easy  to 
understand  or  translate.  His  *  Reminiscences,'  by  the  Baroness  Maren- 
holz,  has,  in  part,  supplied  this  want;  but  a  more  satisfactory  and  per- 
fect bond  of  union  between  the  great  leader  and  his  admirers  and  fol- 
lowers has  been  secured  through  the  three-fold  medium  of  music,  picture 
and  story.  The  illustrations  are  from  the  original  plates,  and  in  the 
quaint  conventional  style  of  the  German  school  in  the  Fifteenth  Century, 
which  adds,  as  it  does  to  the  *  Walter  Crane*  books,  an  indescribable 
charm.  The  seven  lines,  like  strongly  accented  music,  will  attract  and 
hold  the  children,  while  it  cannot  fail  to  be  admired  by  older  eyes. 
The  entirely  new  feature  of  this  book  is  the  atmosphere,  from  lid  to 
lid,  of  living  with  the  children,  and  this  part  of  it  is  as  indescribable 
as  it  is  invaluable;  it  must  be  seen  and  felt  to  be  understood.  There 
are  no  parlors,  nurseries,  or  gardens,  with  the  mothers  trying  to  enter- 
tain the  children,  but,  from  the  babe  on  the  pillow,  on  page  seventeen, 
to  the  end,  the  mother  follows  and  is  taught  by  the  natural  instincts  of 
the  child  how  to  meet  his  needs;  as  the  gardener  watches  the  natural 
growth  of  his  plants  and  adapts  his  efforts  to  it.  Every  page  is  aglow 
with  the  natural  activities  of  children.  Scarcely  an  objection  can  be 
raised  to  the  illustrations,  and  it  may  not  be  amiss  to  say  that,  next  to 
the  wholesome  tone  before  mentioned,  they  furnish  the  crowning  ex- 
cellence of  the  book.  The  music  is  very  pleasing,  and  mainly  j  ust  what 
is  best  adapted  to  children,  though  a  few  pieces  are  better  suited  to 
more  cultivated  ears  and  voices.  The  book  is,  with  few  exceptions, 
literally  filled  with  the  best  material  for  mothers  and  kindergartners, 
and  ought  to  go  wherever  there  are  children.  The  faults  will  be 
looked  upon  as  inevitable  under  the  circumstances,  and  the  publishers 
and  translators  may  be  congratulated  upon^  having  opened  such  a  rich 
treasure-house  to  American  mothers  and  kindergartners." 

Sold  by  all  Booksellers,  and  sent  by  mail  postpaid  on  receipt  of  price. 

LEE  &  SHEPAED,  Publishers,  Boston. 


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